Good morning. Pretend for a moment that this is not, in fact, the Spring of 2012, but rather the Spring of 1982, now thirty years past. We’re in England. New Romance is budding. Rocky Horror is a’rockin’. The likes of Gary Numan, Spandau Ballet, and Klaus Nomi rule subterranean radio.

Under the banner of SHOCK, two young London lads with very excellent bone structure and pop ‘n’ lock skillz named Tim Dry (who would one day become Tik from the robotic mime duo Tik & Tok) and Richard James Burgess (who would go on to produce all manner of sophisti-pop) have joined forces with two young London lasses with very large hair and dovelike coos called Carole Caplin (who shall one day become far better known as the tormented fitness and fashion consultant to Tony and Cherie Blair) and Barbie Wilde (who is soon to be immortalized in celluloid as the creepyhot female Cenobite from Hellraiser II).

And they make this splendiferousness happen:

Via Brian Moroz, with giggly thanks.

If you enjoyed this darque ‘n’ tender morsel of obscure nostalgia, you may also appreciate:

• Teen Goth
• Poésie Noire: “Tragedy”
• The MegaMen
• Bristol Punks
• Tim Curry in “The Worst Witch”
• “Die Sonne”
• Crowleymas, LOLeymas
• Darque Dungeon
• Haysi Fantayzee
• Nosferatu Vogueing: A Symphony of Horror
• Going to MTV Hell With Nick and Blixa
• Lene Lovich

Maurice Sendak Via]

“I said anything I wanted because I don’t believe in children, I don’t believe in childhood. I don’t believe that there’s a demarcation. ‘Oh you mustn’t tell them that. You mustn’t tell them that.’ You tell them anything you want. Just tell them if it’s true. If it’s true you tell them.”

~ Maurice Sendak

With this post I run the risk of turning the top of Coilhouse into a memorial to my youth, but there’s really no helping it, I suppose. More sad news then, as it has been reported that author and illustrator Maurice Sendak died today, at the age of 83 due to complications from a recent stroke. Sendak was perhaps best known for his 1963 book Where the Wild Things Are. The book not only made his career but earned him the prestigious Caldecott Medal in 1964.

Mr. Sendak’s work was a staple of my childhood. I learned to read with the help of the Little Bear Books (written by Else Holmelund Minarik). My first exposure to Grimm’s fairy tales was through my mother’s copy of the collection he illustrated and I had a copy of E.T.A. Hoffmann’s Nutcracker which featured his artwork. His Mouse King terrified me.

And that is, above all, what I remember and respected most about his work, his willingness to scare the crap out of kids. There is a darkness and danger in his books, the same kind found in the stories of greats like Carroll and Baum, which seems mostly lacking from children’s literature now, something that Mr. Sendak seemed keenly aware of. Sendak wrote books that treated children like adults, like equals. Speaking to The Guardian last October, he said “I refuse to lie to children. I refuse to cater to the bullshit of innocence.” This refusal to sugarcoat his work was, undoubtedly, his greatest asset. It will be missed.

“I think every person has the ability to effect change. I think we’re often led to believe that it’s just celebrities [who] have some ability to effect change, but I think that what’s important for us to realize is that everyone of us affects the world constantly through our actions, through our every smallest action, through our every thought, our every word, the way that we interact with other people… we’re constantly affecting the world.”

~ Adam Yauch
(August 5, 1964 – May 4, 2012)

Adam Yauch. [via]

“Today I give thanks to those who fought and died for my right to party.” ~@RichardRushfield

An official statement from the Beastie Boys:

“It is with great sadness that we confirm that musician, rapper, activist and director Adam ‘MCA’ Yauch, founding member of Beastie Boys and also of the Milarepa Foundation that produced the Tibetan Freedom Concert benefits, and film production and distribution company Oscilloscope Laboratories, passed away in his native New York City this morning after a near-three-year battle with cancer. He was 47 years old.”

MCA, we love you. You can’t, you won’t, and you don’t stop.

Fellow mourning comrades, you are warmly encouraged to post your favorite BB jam in comments.

Guys, I’m gonna be real with you.

I may have just peed a little in my witchy-pooh panties.

And that’s all I have say about this:

The sprawling, quicksilver lyrics to this bilaterally symmetrical magnum LULZ opus have been posted below, because they’re… well, just read ’em. And weep bitter crimson diamonds. Ov Darqueness.

[via DJ Dead Billy / Dangerous Minds]

I’m not going to claim to understand the process by which French duo Lucie & Simon captured these images of cities like Paris, Bejing, and New York without people (save for a single figure). It involves using a “neutral density filter that allows for extra-long exposures, which removes moving objects like people and cars.” How that works or what a “neutral density filter” is, I really cannot say, however, the images produced speak for themselves (and are of much higher resolution on their site.)

I lived in New York for a short time, years ago, and the effect of seeing it this empty is really stunning. The only time it ever came close to this when I was there was early in the morning, on my walk to work at 5:30 or so, and even then, it depended on the neighborhood I was walking through at the time and there were always a few cars. It’s eerie to see it looking so quiet.

A small sampling of work by Mexican illustrator and street artist Smithe. A small sampling because, were I not to limit myself I would, most likely, just wind up hoarding every piece of art on his blog and transposing it to this one, which is poor form, really, no matter how much you like someone’s portfolio.

The cartoonishness of his style works well with the subject matter, making sure that the exploded anatomy found in many of his pieces retain an air of playfulness so as not to overwhelm the viewer with grotesquerie. His newer illustrations (specifically the bio-mechanical heads) feature more of a comic book feel, with their dark shadows and copious hatching. This seems like a departure (though, no less successfully executed) from his previous work which features a looser, more animated style. Either way, I am a fan.